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Wavelength is a 45-minute zoom shot from one side of a loft in SoHo in New York City to the windows on the other side of the street,Īccompanied by the sound of a sine wave. The film that established Snow’s reputation and that remains his best-known work is Wavelength (1967). Woman, and the film ends with a close-up of a Black man and a white woman making love. At one point, a woman compares herself with a cut-out of the walking The film juxtaposes the walking woman in street scenes and on rocks in water with images of real people, the sculptures always painted black or white.

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In his first major film, New York Eye and Ear Control (1964), he moved the walking woman into film and introduced an important new element, sound - in this case an original soundtrackīy free jazz great Albert Ayler. Titled the Walking Woman Works, culminated in an 11-part sculpture for the Ontario Pavilion at Expo 67.įilm occupied a major place in Snow’s work since the mid-1960s. Whether in painting, drawing or sculpture, the prototype of the walking woman is a generic female form with breasts, a curving behind, and arms swinging as she steps forward. 1960sīetween 19, Michael Snow’s work in all media was based on the silhouette of a woman. Following extended stays in New York (1962–64), he and Wieland settled there In 1956, Michael Snow held his first solo exhibition at Avrom Isaacs's Greenwich Gallery in Toronto. During this time, he produced his first independent film, the animated short A to Z (1956). Snow worked for Dunning Graphic Films until the company closed in 1956. In 1955, animated film producer George Dunning, who went on to direct The Beatles’ Yellow Submarine, saw a small show of Snow’s drawingsĪnd offered him a job at Dunning Graphic Films. The piece was accepted, resulting in the first public exhibition of his art.Īfter graduation, Snow worked for an advertising agency, made paintings, performed jazz music and travelled Martin encouraged Snow to submit his abstract painting Polyphony to the Ontario Society of Artists’ annual show. In snow lingo this is called “skiing the fall-line,” the hallmark of an expert.Michael Snow attended the Ontario College of Art (now the Ontario College of Art and Design University) from 1948 to 1952, where he was a student of theĭirector John Martin. While I aspire to make my ski lines a calligraphy in motion, Maya picks the most direct, and thus often the steepest, path like a stone rolling down the mountain. There is style and aesthetics to skiing fresh snow – how big the turns, how round and frequent, what path you choose down the untracked mountain slope – and so the ski lines are as individual as signatures. I could wholeheartedly relate and, so, we’ve become best ski buddies, together seeking the freshest and deepest snow, like proverbial powder hounds. Winter road closures are one sure sign that the powder is up.įour years ago, and a year into her puppyhood, my Airedale Maya showed an unusual trait: a mere glimpse of skis and the clang of the planks snapping together brought out in her the same reaction the sight of a hunting rifle stirs up in a gun dog. You have to catch it on just the right day and this often entails a lot of winter driving, much of it with snow chains on. It is as elusive and ephemeral as good surf. 'Powder' snow is soft like eiderdown and, ideally, at least knee-deep. Zillions of tiny falling white stars, each a crystalline gem when examined under a magnifying glass, interlacing together, settling silently, promising – and delivering – the ecstasy of powder skiing.

When it does come, unpredictable but unfailing, it refreshes both outer and inner worlds, repainting the mountain landscapes pure and new, sparking excitement and joy in the hearts of many, and not just humans.įresh snow! One of nature’s greatest miracles. Roadside Assistance for bikes, e-bikes and e-scootersĮvery year we wait for it with an odd mixture of anticipation: the way drought-stricken land pines for rain, and how children await Christmas.

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